Kalidasa's Raguvansha - A Mahakavya in 19 Cantos with the Comm of Mallinatha Suri - With Critical & Expl Notes & Trn of the Text & an Essay by Krishnarao Mahadeva Joglekar MA (1916).pdf

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KAI,Il)ASAS
RA(H[]WANSHIA
A
MAHAKAVYA
IN
1
9
TTH JE
COMMENTAR ’
Y
OFT
C4 NTOs
wrTH
MALLI
NATHA SUR
I
KAF .
ED77TED
EY
VASUIDEV SHAISTRI
PANSHI
WITH.
Critical
and
explanatory
notes
on
the
text
and
commentary,
translation
of
the
text,
and
an
Essay
on
the
life
and writings
of
the Poet
BY’
KRISHINARAO MAHADEVA JOGLEKAR,
M.
A.
Sometime Honorary Fellow,
Elphinstone College;
University Gold
Medalist.
ANB
:
,
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Annotator
‘Patna
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’A3.prddhorcharifa’
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“Bha/fri/10/i’6
Shnin/k/16’
efc.
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of
“Shakunta./7,’
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PUBLTSHIPTD
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TUKARAM
JAVAJI,
J->F OPRIETOF
Ess,
NTRNAYA-sACAR4
PR
B0MBAW,
Published
by
Tukaram
Javaji, and Printed by
Ramchandra
Yesu
Shedge,
at the ‘Nitnaya-sagata' Press, 23,
Kolbhata Lane,
Bombay.
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PRE
RAC E.
author
hardly
needsany prefacebeyond
a
few words
of justifica
tion
for
its
being
put
forward.
An
annotated
Edition
of
a
popular
work
of
a
recognised
There
area
couple
of
annotatededitions
of
the Raghuvansha
already
on
the
market. Among them
Mr.
Nandargikar's has
the
merit
of
giving
various readings
from
a
series
of
Mss.
These have their value and
importance
to a
scholar
or a
teacher,
but
in
my
opinion, they are
not
needed
by
the ordinary
student
who
has
‘to
learn
the
language.'
What he
most requires
is
a
straight explanation
of
words and
phrases
which
are
before
him
in
his
text-book.
Theaim
of
the ‘Notes’
appended
to
the
present volume has
been
mainly
to
explain Mallinatha Suri's
commentary
which
is
a
mine
of
information, and
a
careful
study
of
which
will
amply
repay
all
the
trouble taken
in
exploring
repeating
what Mallinatha has said have
endeavoured
to
eluci
date
‘compounds.’
Parallel
passages
not
only
from Kalidasas
other
works
but from
those
of
other
standard
writers have
been
given
Dissolution
of
compounds
has been stumbling block
the
path
of
many
student.
Even
at
the risk of,
at
times,
it.
a
to
illustrate
the
meanings
and
ideas.
Sanskrit synopsis
of
the poem
in
verse,
and one
English, canto
by
canto, have been
prefixed.
I
novice
extracts
from the
writings
been
given.
of
European and
Indian
savants have
---
53.
the
translation.
This
has been
point controversy. Teachers are,
the
majority
of
cases,
loud
their
declamation_of
translations
and
complain that
in of
in
Last, but not
least,
is
v i:319
jt
a
a
of
laysclaim
information
about the author.
no originality.
gives
ano
eactem8o
the
estimate
of
one
of
the
noted
western
It
a
to
scholars
about
the
poem and
its
author. Likewise,
couple
a
It
The
introduction gives
in
condensed
formall
the
available
is
Theappendix
on
Prosody gives
all
the
information
that
likely
to
require.
a
in
A
in
a
II
translation
PRIBPACF9,
encourages ‘cram'. Same
has
to
be said
mutati8 mutandis
about
‘completeparaphrase
at
the
end
of
the English
text-books
by
College professors.
had
a
chat
with
a
graduate-gentleman.
He
complained
about
‘trans
lations.
asked
him
what then about
‘full'
paraphrase,
‘complete paraphrase,
‘idiomatic
praphrase, ‘scholarly’
para
raphrase
and
all
manner
of
paraphrases,
by
so-and-so professor
of
English
of
such-and-such
a
College,
etc.
Oh!
he
said
that
at
the end
of
a
text-book
I
I
lation
on
the
lines
of M.
Williams
is
a
great
help
and
serves
the
students
better than
detached
words
with
which present
day-notes
are
loaded.
Leaving aside
the
subject
for
the
consideration
of
the
wise
who
sit
in
conclave
for the
good
of
the
‘hopefuls'
would say that
haoe
oppemded
a
translation
which has
been
steadily
kept
as
near
the
original
as
possible
consistent
with
the idiom
of
the English
language,
to
the
best
was
quite
justifiable.
They
helped
the
students
to
grasp the
idiom;
besides
they were done
by
College
professors.
Could
anything
be
more ridiculous.
A
translation
with
all
participial
clauses
and
subordinate sentences strung together
and
pinned
on
to
the
‘subject
and similar
clauses
stuck
on
to
the‘predicate
are certainly condemnable.
am
of
opinion
that
a
good trans
I
I
I
of
my
abilities.
the translation; any
suggestions, emendations,
or
corrections,
will
always be
welcome.
VIDYAsHIRAMA,
HUFJDWT,
30th
c/at/ne,
1916.
No
pretention
is
made
to
perfection
either
in
the
notes
or
K,
M. JOGLEKAR.
INTRODUCTION,
s---------E 5SE------5
No
sooner
a
student
has had his
drumming
in
the
elements
of
declension
of
nouns, conjugation
of
verbs,
and
the
formation
of
compounds,
than
this
poem
is
put into his
hands
the
Shastrees.
The
Raghuwansha has
enjoyed
a
marvellously unique
popularity
for over
fifteen centuries throughout
the
Indian
Popularity of
continent,
It
has
been used
as
a
text-book
by
Raghuwansha.
to familiarise
him with the
rudiments
of
syntax.
The
poem
is
not
only prized
as
a
text-book
by the
Shastrees
of
old,
but
it
is
accorded
a
prominent place
in
the curicalli
of all
the
modern universities.
Apart from
its
position as
a
text-book
for the
young,
it
is
read with
no
small
pleasure
by
the
‘middle-aged’
during their
leisure-moments,
of
thenoon-tide
hourby
lovers
of
the Sanskrit
language.
This
honour
and listened
to
with
half-closed eyes
by
‘the old’
to
beguile
the
enamatch
has
been secured
by
the
poem
over the length and
breadth
of
the
country–froma
the
fastnesses
of
the
snow-capped mountain-ranges
in the north
to
the
slopes
of
the
pepper-clad ‘blue-mountain'-slopes
in
the
south,
as
also from the
mouths
of
the lazy and
slow-moving
but
dreaded
Indus on the
west
to
the rushing torrents
of
the
Brahmaputra
on
the
east.
Thus, the
poern may
be
looked upon
as
the
poem
of
the
Indian
nation.
It
is
not
in
India
alone that the
Raghuwansha has
been
a
favourite poem; but
it
seems
to
have
travelled
as
far as
Java and the
Bali
island towards the
far
Blast,
where, too,
it
took
a
firm hold
of
the public
mind;
and
in
modern
times
it
has
travelled
to
the
far West into
Europe where
it
has
been
translated
into Latin,
German,
French, English, and other
continental
languages,
and has
been
much
admired
by
almost every
nation
there.
The
poem
though
a
national one cannot be ranked
with
the
JMah4-Bhdrata
or the
Jhtdndga%a.
Those
are
the
-
--
truenational epics: they are
to
the
Hindu
what
f,
are to the
Greek,
the
AShdhdhadmeh,
to
the Persian,
or
the
poems
of
Cad
to the
Spaniard.
As
a
literary
composition
the
Raghuwansha
may be aptly
compared
to
Wirgil's
-ZEneid,
or
Ariosto's Orlando Furioso,
or
to Milton's Paradise
Lost
and
Paradise
Regained.
As
to
its
position
in
Sanskrit literature
it
may
be
ranked next
to the
Fidmdgaz2a
of
Walmiki.
Some
literary
critics
are
of
opinion that as
between
it
and
its
compeer
(by
the
same
author)-the
AGanadrasanathaca–it
must
yield
precedence
to
the
latter.
Whatever
be
the verdict
of
savants
the
fact
is
there:
the
Raghuwansha has
stood
at the
head
of
the
poems
of
the
Adogya
class.
Homer's
Odgy88egy
JP'air
"tif."
Aad
and

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